In his Dragon Magazine #39 article (*), Douglas P. Bachmann makes some statements I can agree with, although I'm concerned with knowledge, not just action (moral):

«The art of Fantasy is not concerned with real-life evil, or science, or quickies or getting high. It is concerned with the profound mystery behind and within life, nature and the human soul.(. . .)I do believe that as we struggle to discover the reality of Faerie and the proper forms of Fantasy, as we design game mechanics which are true to those realities, we will discover our souls.»

It goes without saying that some years have passed since the release of this Dragon Magazine issue (also featuring the Anti-Paladin), but there could have been at least hope for Douglas of arriving to some solid understanding, since he acknowledged a sort of objectivity to "Fantasy", and that even despite the misleading influence of mainstream psychologistic authors like J. G. Frazer, C. G. Jung, J. Campbell . . . (related G+ posts: Modern Anthropology, http://goo.gl/XX643; Primitive Mentality, http://goo.gl/jZL2u, between others.)

As approaching to its modern "form", Christian religion became more and more deprived from its essence, and one of the results was to not acknowledge any immanence corresponding to exalted divine names in creation, mostly in favor of purely sentimental and worldly morals. Which gave rise to curious perceptions and dichotomies, also very troublesome.

Excerpts from the linked website:

«In The Two Crowns Dicksee portrays an English medieval prince returning home in triumph on a white horse decorated with three feathers. Wearing a golden crown, he gazes up at a crucifix, Christ's crown of thorns contrasting starkly with the jewelled headpiece and opulent armour of the prince. Although surrounded by admiring onlookers, the prince is transfixed by the sight of this representation of Christ, a vivid reminder of the lack of importance of temporal power and riches.

The Two Crowns is one of a number of paintings by Dicksee with a medieval theme, including The Redemption of Tannhäuser (1890) and The Passing of Arthur (1899). But in contrast to both these works The Two Crowns does not represent any particular historical event. Dicksee seizes the opportunity to create a scene brimming with pomp and ceremony. The jubilation of the crowds at the Prince's homecoming is represented with flying banners and coloured confetti thrown by the youthful maidens in the foreground and from the balcony above. Kestner has argued, however, that the image of the chivalrous prince confirms Dicksee's belief in 'Aryan empowerment, heroic conquest, and male dominance' (Kestner, p.192). Previously regarded as merely escapist Kestner highlights the subservient women gazing into the prince's blue eyes and the banner on the left which reads VS VINCI legible 'conquer -'; factors which, he believes, confirms the artist's later allegiance to Fascism.»

Apart from Exanima demos, this is the first time I see a video game implementing swords as objects other weapons unintendedly can collision with, effectively increasing your defenses, even if you're not expressly holding the "Parry button".

A nice achievement of +Warhorse Studios I'm going to need to check this release if it fits in my machine.